AUTOTYPE. " The glorious sun Stays in liis course, and plays the alchemist." King John, Act I /I. Sr. i. AUTOTYPE Decorative and Educational FOUB ILLUSTBATIONS. THE AUTOTYPE COMPANY Fine Art Gallery, 74 NEW OXFORD STREET, LONDON, W.C. (A Few Doors West of Mudics' Library.) 1888. FLETCHER AND SON, PRINTERS, NORWICH. "The walls showed a glorious silent cloud ot witnesses — the Virgin soaring amid her cherubic escort ; grand Melancolia with her solemn universe ; the Prophets and Sibyls; the School of Athens; the Last Supper; mystic groups where far off ages made one moment; grave Holbein and Rembrandt heads ; the Tragic Muse ; last century children at their musing or their play; Italian Poets — all were there through the medium of a little black and white." Mrs. Mey rick's back pai'lour^ from ''^Daniel Deronda.''' AUTOTYPE. AUTOTYPE A DECORATIVE AND EDUCATIONAL ART. XonOon: THE AUTOTYPE COMPANY. 1888. TABLE OF CONTENTS. CHAP. PAGE. Preface ... ... ... ... ... ... ... 3 I. What is Autotype ... ... ... ... ... ... 5 II. Autotype : Decorative and Educational ... ... ... ... 7 III. On Framing ... ... ... ... ... ... ... 9 IV. The Great Masters in British Collections ... ... ... n A Selection of Autotypes from Works in the National Gallery 13 From the Windsor Castle Collection ... ... ... 14 From the Buckingham Palace Collection ... ... ... 14 V. The Great Masters in the Foreign Galleries ... ... ... 15 A Selection of Autotypes from Works in Foreign Galleries ... 18 VI. The French School ... ... ... ... ... ... 21 A Selection of Autotypes from Masters of the French School ... 22 VII. Reproductions of Works of Modern and Contemporary Artists ... 23 VIII. Recent Publications of the Autotype Company ... ... ... 30 utotype an Educational and Decorative Art. 3 PREFACE. Since the first publication of this Pamphlet in 188 1 it has been twice revised and reprinted, and now in 1888 the sphere of Autotype as ac illustrative and decorative art has so much expanded, the mere enumeration of its art work has assumed such proportions, the number of reviews and press notices has so accumulated, that it seem expedient to re-write this little work, with a view to arranging the matter under more distinct headings, giving the remarks and criticisms of recent reviews, of indicating the more popular of the works, and suggesting suitable modes of framing, with approximate prices, for the guidance of purchasers. A grand feature of Autotype art is its immense collection of reproductions from the Great Masters. At the Autotype Fine Art Gallery, arranged in albums, will be found Braun's splendid series of Autotypes, giving examples of the genius of Michael Angelo, Raffaelle, Da Vinci, Guido, Correggio, Murillo, Holbein, Rembrandt, Perugino, Fra Angelico, Titian, Paulo Veronese, Rubens, Velasquez, and the host of immortals whose names are monumental of the great epoch of the Renaissance. These albums, alphabetically arranged, not only afford convenient means of reference to any master, but the pleasure of a survey of reproductions of the most celebrated paintings and drawings of the fourteenth, fifteenth, and sixteenth centuries, and of many of the most renowned specimens of antique sculpture. In addition to these, the Royal Collections at Windsor and Buckingham Palace, and our own National Gallery, are adequately represented, and there are also numerous examples of the Modern Schools, together with many important works by eminent living artists. The Autotype Fine Art Gallery is situate at No. 74, New Oxford Street, on the same side as, and a few hundred yards to the west of, Mudies* Library. The Gallery is open free of charge from 10 to 5. 4 TJie Autotype Fine Art Gallery, 74 New Oxford Street. Visitors will be courteously received, allowed to inspect at their leisure the various works exhibited, to look over the specimen albums, and whilst every attention is paid to them, they will not be solicited to make purchases. To encourage Art in the Home is the object of this pamphlet. Autotype has popularised facsimile reproductions of the works of the Great Masters, and rendered in monochrome, with greater fidelity than is possible by any other photographic means, their immortal works in fresco and oil painting. Autotype has made it easy for persons of taste to adorn the walls of their homes, at trifling cost, with such "things of beauty" as remain "a joy for ever." To conclude, the following short quotations from the Art Journal will show that the efforts of the Autotype Company to disseminate and popularise good art, by means of their system of photography in permanent pigment, has met with due acknowledgment from the leading journal devoted to the fine arts :— * * The Autotype Company are large contributors and very valuable aids to the enjoyment that is to be derived from Art. More than that, they are important and impressive instructors, and much of existing progress must be attributed to their issues. Month after month they furnish to Artists and Art lovers some copy of a picture so elaborate, that if produced at all, it must be a work of time, the result of labour that, if adequately paid for, must render it costly, and consequently accessible, not to the many, but the few." "A collection of the works issued by the Autotype Company would be an Art treasure great in extent, and of immense worth as an Art instructor as to what is Joing in the present, and what has been done in the past. " Free Admission to the Autotype Gallery. 5 CHAPTER 1. WHAT IS AUTOTYPE P The term Autotype was proposed by the late Mr. Tom Taylor, and has been very generally accepted as appropriate to signify the reproduction in monochrome of an artist's work, without the inter- vention of another hand or eye; the only means used being the natural forces of light or actinis?n, and chemical affinity ; the materials in which the picture is produced being the permanent pigments of the artist's palette. At first the term was understood to mean principally copies of art work ; but the term Autotype is now employed to designate permanent photographs of every kind of subject amenable to photography, and produced in gelatine and pigments by the method described in the following notice of Autotype which appeared in the Times of September 4th, 1879 : — "On a former occasion at some considerable length, and more recently in various articles upon the progress of photography, we have made mention of the class of works called Autotypes ; but these, in the peculiar sense in which they have been rendered absolute reproductions of everything which is characteristic of the artist's hand in a drawing, or even in an oil painting, will fairly admit of a more detailed notice than has yet been given to them. An engraving, however skilfully executed, is at best but a copy of a painter's work by some one else, and is thus deprived of that strictly personal element which is so important in every form of art ; while in the case of Autotypes the original may almost be said to copy itself, and the copies may certainly be said to reproduce with entire fidelity everything that is characteristic of the original. The work of the brush is, indeed, not so much copied as multiplied ; and hence many painters of repute, notably Sir F. Leighton, Mr. Poynter, Mr. Elmore, Mr. George Earl, and others, are intrusting their pictures to the Autotype Company rather than to the engraver for the supply of the copies demanded by the public. "A finished Autotype is a sun-picture printed permanently in carbon or other imperishable pigment ; and it is obtained in the following manner :— A sheet of paper is covered with a film of gelatine, with which the pigment and a certain proportion of bichromate of potash have been mixed, and this film is dried for use. The gelatine is naturally highly soluble in water, but the effect of the addition of bichromate of potash is to confer upon it the property of becoming insoluble as a consequence of exposure to the action of light. The result is that when, after 6 Autotypes^ produced in several tones of Colour. a sufificient period of exposure under a negative, the prepared sheet is placed in a warm bath, the parts upon which light has fallen remain, while those upon which light has not fallen are readily washed away. Hence the transparent parts of the negative become the dark parts of the print and vice versa; while the dark parts, being dependent for their colour upon carbon, or upon some equally permanent material, and not upon the comparatively unstable metallic oxides of ordinary photography, are as imperishable as work done in printer's ink. An Autotype is, therefore, calculated to be in all respects as enduring as an engraving. " The great difference between Autotype and all other modes of photographic reproduction is, that it substitutes the ordinary permanent pigments of the artist's palette for the chemical salts hitherto employed. Pictures are produced in colourings appropriate to the pictures or objects represented. Thus an Autotype may be in engraving black, in Vandyke brown, in sepia, charcoal, red chalk, indian ink, &c. It bids defiance to " Time's effacing fingers," and represents permanent photography. The Autotype process is largely employed by the Trustees of the British Museum, the Council of the Royal Society of Literature, the Numismatical, Palaeographical, and other learned societies, thus assisting in the progress of science and literature, whilst it claims to have dowered photography with new gifts of artistic expression, and, by its vast collection of classic reproductions, to have immensely augmented the means of art education and enjoyment. ** It needs only a visit to the Company's Gallery to perceive at a glance that Autotype has a special character and distinct expression. To persons acquainted only with silver prints, the Art productions of the Company would scarcely be supposed to be photographs at all. In some cases, notably in copies of charcoal or sepia drawings, one sees exact facsimiles of the originals." — The Art Journal^ March, 1878. A uiotypes for the decoration of the Home. 7 CHAPTER II. AUTOTYPE: DECORATIVE AND EDUCATIONAL. Autotype has peculiar functions as a decorative art, and in no other form of translation of art work is it possible to attain the same vraisemblance. Based upon photography, it gives in permanent pigments the handling, the method, the very essence of the work it reproduces. Its great range of colour — black, red, blue, brown, and yellow tones — enables Autotype copies to be so printed as to be suggestive of the scale of colour of the originals ; and it is possible to have a selection of Autotypes that will, both as to subject and colour, harmonise with the decorations of the room in which they are to be hung. The Autotype Company have, in their Fine Art Gallery, classes of subjects distinctly suitable for the art decoration of the various apartments of a modern home. The Autotypes of the Great Masters, from the Continental galleries and from the British collections, are especially suitable for halls, corridors, libraries, and dining-rooms. On pages 13, 14, and 18 will be found selec- tions of well-known subjects, with suggestions for framing, and prices. For drawing-rooms and boudoirs some of the more modern pictures will be found especially appropriate. On page 22 will be found a selection from the modern French school, admirably suited to this purpose, including some lovely pictures from the Salon and the Luxembourg, many of these being printed in sepia colourings, harmonise well with the modern style of room decoration. In addition to these there are examples of the work of English artists, see page 23 and following. Amongst them copies of works by Sir Frederick Leighton, P.R.A., Poynter, R.A., Rossetti, Watts, R.A., Burne Jones, Holman Hunt, Frederic Shields, and others. For the study or library, a considerable choice is open in reproductions of Bartolozzi's best work, in copies of the Reynolds pictures from the British Museum Print Room, in facsimiles of Turner's Liber Studiorum, and a fine series of Auto-gravure etchings of Meryon's Old Paris. 8 TJie Autotype Catalogue post free for six stamps. For the billiard or smoke room mention may be made of a series of semi-classical equine studies, by Cattermole, which called forth the following notice from the Academy of December 6th, 1879 : — " We have received from the Autotype Company an excellent reproduction of one of Mr. Leonardo Cattermole's latest vi^orks. It is called 'The Chariot Team,' and represents a young Greek woman riding a powerful white horse and holding three others in a leash. Mr. Cattermole is an artist who, following a totally different line of subject from his father, the much-esteemed water-colour painter, has become known by his peculiarly refined and graceful studies of horse-life. He has perceived, like the old Greek sculptors of the Parthenon, the capabilities that lie in the beautiful forms of horses for decorative purposes, and has treated his subject partly from a classical and partly from a sentimental point of view. Somehow his horses have much of the subtle refinement and grace of Mr. Albert Moore's studies of the female figure. They may, indeed, be called 'harmonies in horseflesh;' yet, though they deal entirely with horses, they are not in the least degree 'horsey,' and would no doubt fail to please the fast heroines of modern novels, whose chief knowledge consists in their thorough acquaintance with the ' points ' of the animals they ride. This harmony, united with tender sentiment, is strikingly apparent in the picture called ' The Houyhnhnms,' only two horses standing against a wall, but we are made to feel th^t they are in reality two lovers saying farewell." A visit to the Autotype Fine Art Gallery will convince art lovers that there is ample scope for the selection of noble works to beautify the home, whatever may be its character. George Eliot hung the walls of Mrs. Meyrick's back parlour, in Daniel Deronda, with ''a glorious silent crowd of witnesses," and these same works are equally fitted to adorn the walls of palaces. Touching upon Autotype as an instructive agent, the following is a portion of a notice which appeared in the Times some years ago : — "It is worthy of the consideration of those concerned in education whether they might not do something to render the work of the Autotype Company more widely known, whether, for example, it might not be possible to give well-selected pictures as prizes in Board and other schools, and to carry out on a wider and more extensive scale what is done by the Art Union for works of a different and, in some cases, of an inferior class." This no doubt led to the formation of the "Art for Schools Association, which has Mr. Ruskin for Pi'esident, and on its list of Vice-Presidents such names as Matthew Arnold, Robert Browning, Sir Frederick Leighton, John Morley, William Morris, &c., has for its object to influence the plastic mind of youth by silent lessons of art, conveyed by the exhibition of copies of famous works on the hitherto unembellished school-house walls. Its practical measures are the selection and recommendation of representative works, such as 'pictures of simple natural objects, pictures of animals, pictures of peasant and artisan life, pictures of famous architectural works, landscapes, and sea-pieces, historical portraits, scenes from history, and reproductions of suitable subjects among the works of the Great Masters of English and Foreign Schools : ' and, moreover, to facilitate for schools the economical acquisition of such pictures and to make presents of such where funds are not available." Year by year, since the establishment of this Association, a selection of Autotypes of a representative character has been sent to each sub- scribing school, or member of the Society, for a reasonable subscription. For ilhtstrations of frammg see end of this pamphlet. 9 CHAPTER nr. ON FRAMING. The pleasure derived from the contemplation of a work of art being undoubtedly enhanced by its suitable setting, the Autotype Company have given considerable attention to securing frames and surroundings in harmony with the artistic nature of Autotype reproductions. In this edition of the pamphlet an effort has been made, by introducing three pages of photographed subjects and frames, to give an idea of the suitability and appearance of framed Autotypes ready for hanging. These illustrative plates will be found at the end of the pamphlet, and faced in each case with a full description of the frames shown, with their number and price. Each kind of frame is on view at the Autotype Fine Art Gallery, but to those who find a personal visit inconvenient, the illustrations will, it is hoped, be of assistance. The Classical stock, consisting of copies^of the paintings and drawings by the Great Masters enshrined in the National Galleries at home and abroad, are probably seen to best advantage in frames of unpolished oak or walnut, reeded or plain, with inner flats close to the picture. The flats may be either plain or gilded. Illustrations of this mode of treatment will be found in figs. A, C, and J in plate I. A very elegant frame, suitable for subjects by Rafifaelle and his school, consists of a brown and gold ornamental moulding, a vine pattern upon a gold ground, as shown in the Sistine Madonna, fig. C, plate II. For the severer subjects. Walnut, with a flat of the same wood having a gilt bevil, as in fig. D, plate I. For religious subjects, a black reeded moulding with oak flat is suggested, fig. G, plate I. The French school and modern contemporary artists show to advantage in frames of stained oak with flats of the same. To make a variety the flat is often left of the original colour of the oak, whilst the frame itself is stained to a darker shade. Examples of these in figs. F and D, plate III. The brown and gold frame surrounding the charming picture " La Songeuse," fig. K, plate III., forms an admirable setting for many copies of modern pictures. 10 Frames for Autotypes, Drawings, Engravings, &c. Special frames have been designed for the Autotype copies of Sir Frederick Leighton's cartoons, " The Arts of Peace," and " The Arts of War," the first of these is shown at fig. A, plate III. For framing the Autotype of " The Good Shepherd," by Frederick Shields, a special pattern has been designed having an emblematical character suited to the subject of the picture : it consists of a reeded walnut frame with an intertwined " thorn " pattern, fig. E, plate III. Examples from the works of Reynolds, Lawrence, Romney, Bartolozzi, etc., reproduced from selected engravings in the print room of the British Museum are best seen in the old-fashioned Hogarth frame. Specially turned circular and oval frames of this pattern are supplied in either black, green, or white with gold. Such of these Autotype fac-similes as are in red chalk, make beautiful little pictures framed in white and gold. For illustrations see figs. B, C, G, H, plate III. Selected examples from these masters arranged to harmonise, placed under cut-out mounts, either plain or gilt, and framed as triptychs, are highly effective and popular. The Autotype Company not only frame the subjects that they sell or publish, but they offer their services in this direction to those who desire to have their own pictures framed or mounted in an artistic manner. They have a large stock of mouldings of the most recent designs, and specimen frames suitable for Drawings, Water-Colours, Oil Paintings, Engravings, and Photographs can be seen at their Fine Art Gallery, New Oxford Street. The very best work only is sent out, and no pains spared to execute every commission in a satisfactory and artistic manner. AtLtotypes of the Great Masters in British Collections, ii CHAPTER IV. THE GREAT MASTERS Reproduced in Permanent Autotype by Messrs. Braun 6^ Co. (British Collections.) NATIONAL GALLERY, LONDON THE ROYAL COLLECTION, WINDSOR THE ROYAL COLLECTION, BUCKINGHAM PALACE These Autotypes are specially noteworthy as having been selected by the Directors as representative of the Works contained in the collections, and further as combining all the modern improve- ments in the Photographic Reproduction of Colours which give to modern Autotypes so great a superiority over those made in years past. There are 349 Autotypes of the National Gallery Pictures, 78 of the Buckingham Palace, and 83 of the Windsor Castle Collection. The following notice from the Saturday Review will give an idea of the value of the Autotypes of these Collections : — "Chief among examples of the English school are the six subjects of Hogarth's immortal 'Marriage a la Mode' (113— 118). Hogarth's art is not the highest ; but, of its kind, how good and satisfying it is ! How saturated with observation, how pregnant with humanity, how infinitely varied and suggestive ! After the master's own etchings there is nothing so good as these autotypic renderings of the master's thought. They say that of late years Hogarth has been done to death, and that his popularity is a thing of the past. One has only to consider this set of the ' Marriage a la Mode ' to be aware that his is a reputation quite irrespective of art, and that, while manners are studied and human nature remains of interest, his work, however feebly and incompletely it may be expressed, must remain of enduring 12 Autotypes of the Great Masters: British School, value. In Gainsborough's 'Parish Clerk' (760), which is quite admirably reproduced, the plastic intention is better than Hogarth's, the art is more artistic, so to speak ; but it lacks the elements which are so fully and vigorously represented in the ' Marriage a la Mode,' and on those grounds on which it is superior to these it is easily surpassed by some other portraits in the collection, the work not merely of Rembrandt and Hals and Antonello, but of Bonvicino and Thomas de Keysir. The 'Portrait of a Lady' (891), by which alone Sir Joshua is represented, is not a good specimen of the master, and labours under the further disadvantage of presenting an unpleasant type of woman. All the same, it is one of the happiest pieces of reproduction in the set. Another achievement in its way is the translation of Zurbaran's ' Monk ' (230), in which there is preserved a great proportion of the stern yet taking romance of the original. Less interesting as a picture, but photographically every whit as good, is the 'Christ bound' (1148) attributed to Velasquez. ' ' In the Italian section are good copies of Bonvicino's romantic and gallant * Italian Gentleman ' (299), Francia's affecting 'Pieta' (180), Raphael's 'Vision of a Knight' (213 and 213A), the painting and the drawing on a single board ; Titian's ' Holy Family ' (4), a picture only good in places, as the present transcript makes somewhat painfully evident ; and Giovanni Bellini's austere yet lovely ' Holy Family' (280). In the last the white hem of the Virgin's headgear and sleeves is a trifle exaggerated in tone, but the effect is inconspicuous. It is far otherwise with the 'Raising of Lazarus' of Sebastian del Piombo (i), which presents at a certain distance the appearance of a confusion of dark masses and white spots. Nothing, on the other hand, could be better than the several reproductions of Lorenzo di Credi's ' Virgin in Adoration ' (648) ; Antonello da Messina's superb and virile 'Portrait of a Man' (1141), and Garofalo's ' Holy Family with Saints' (170). In these we have tone, character, manner, sentiment, brushwork, everything but colour ; only the pictures themselves would be more instantly impressive. Not unworthy to rank with them is the one delicious example of Correggio the ' Venus, Mercury, and Cupid' (10). Here there is the chiaroscuro of Antonio Allegri, and the difficulties of transcription are increased tenfold thereby. "Rembrandt is represented by a couple of portraits. One is the renowned 'Old Woman' (775) ; the other (850) the astonishing person in the lace collar. Both are just as good as they can be ; are so good, indeed, that one feels in looking at them that to indulge in private and peculiar Rembrandts it is no longer necessary to be a millionaire. The Hobbema, a noble ' Paysage Boise' (995), is another masterpiece of reproduction. On the Hals, a ' Portrait de Femme' (1021), one can follow the triumphant gaiety and sparkle of the master's handling ; on the Pieter de Hooch (1794), that miraculous ' Courtyard ' before which the modern realist would blush if he were capable of blushing, one may study the art and mystery of tone — above' all, if one knows the original — almost as in the original itself. In the Terburg (864), ' The Guitar Lesson, ' there are some false high lights, as there are in the Metsu (839), the 'Music Lesson.' The Ruysdael (628) is, on the other hand, one of the best reproductions of landscape we remember to have seen." Autotypes from the National Gallery, 13 SELECTIONS FROM THE BRITISH GALLERIES. The following small selections from the British Galleries, viz., The National, Windsor Castle, and Buckingham Palace Collections, are given to suggest suitable styles of Framing. Patterns of the frames with descriptions will be found in the illustrations at the end of the pamphlet. The Autotypes average in size about 17 by 14 in., mounted on French Grey Boards 27 by 22 in., and are one uniform price, Twelve Shillings. The prices of the Autotypes complete in selected frames, having the numbers in the last column, are as quoted in the Ust. FROM THE NATIONAL GALLERY. No. Artist. Subject. Price Framed Complete. 189 Bellini The Doge Loredano 30/- in Frame No. 6 275 Botticelli Virgin and Child 28/- No. 13 Constable Cornfield 30/- No. 5 327 Do. Valley Farm 30/- 3) No. 5 1093 Da Vinci La Vierge aux Rochers 30/- 3) No. 3 638 Francia La Pieta 27/- 33 No. 5 1020 Greuze Child with Apple 30/- 53 No. 5 1168 Do. La Frileuze 30/- 33 No. 5 274 Mantegna Holy Family 32/- 33 No. 19 13 Murillo Holy Family 30/- 33 No. 3 181 Perugino Holy Family 30/- 53 No. 5 168 Raffaelle St. Catherine 30/- 55 No. 5 672 Rembrandt Portrait of Himself 30/- 33 No. 4 182 Reynolds Angels' Heads 36/- 33 No. No. 9 307 35 Do. Age of Innocence 36/- 35 9 Titian Bacchus and Ariadne 36/- 33 No. 10 524 52 Turner The Fighting Temeraire 30/- 33 No. 3 Van Dyke Gevartius 30/- 33 No. 5 Do. J Portrait of Flemish 30/- No. 5 186 ( Merchant and Lady 33 1041 Veronese (Paul) 1 Vision of St. Helena 32/- 33 No. 19 14 Autotypes from Windsor Castle and Buckingham Palace. FROM THE WINDSOR Cx\STLE COLLECTION. No. Artist. Subject. Price Framed Complete. 6 Carracci Madonna del Silenzio 30/- in Frame No. 6 54 Clouet Mary Queen of Scots 30/- J5 No. 5 49 Holbein Portrait of Henry VIII. 36/- J) No. 10 44 • Do. Duke of Norfolk 30/- •)■) No. 5 42 Quintin ) (Matsys) J The Misers 30/- No. 6 36 Rembrandt Portrait of his Wife 30/- JJ No. 4 7 Rubens His own Portrait 30/- No. 4 II Do. i Family of Sir Balthazar ( Gerbier 21/6 )5 No. 4 Titian f Portrait of the Artist & ( of Andrea Franchesini 21/6 J5 No. 15 21 Van Dyck / Three Children of 1 Charles 1. 30/- 5) No. 13 32 Do. Killigrew and Carew 30/- No. 13 16 Do. r Portrait of Charles I. ( Bust, three positions 30/- No. 13 FROM THE BUCKINGHAM PALACE COLLECTION. No. Artist. Subject. Price Framed Complete. I Backhuysen A Fresh Breeze , Claude ) j The Abduction of ^ (Lorraine) j ( Europa 3 Cuyp A Hunting Party 20 Franz Hals Portrait of a Gentleman 30/- 35 Paul Potter A Young Bull 39 Rembrandt Portrait of Himself ... r f Burgomaster Pancras 36 I and his Wife ^° (dTvS)[ TheCornemuse ... ^ ^ f Equestrian Portrait 16 Van Dyck | ^ Charles L * With walnut flat. 30/- in Frame No. 3 36/- )) No. 10 30/- )? No. 3 30/- 3) No. 4 30/- J> ^'No. 14 30/- 3J No. 4 30/- . No. 4 30/- 3) No. 5 30/- 33 No. 3 The Great Masters from the Foreign Galleries. CHAPTER V. THE GREAT MASTERS Reproduced in Permanent Autotype Messrs. Braun 6^ Co, (P'oREiGN Galleries.) THE IMPERIAL GALLERY OF THE HERMITAGE, ST. PETERSBURG MUSEO DEL PRADO, MADRID THE LOUVRE, PARIS THE LUXEMBOURG, PARIS THE UFFIZJ, FLORENCE THE VATICAN, ROME And other celebrated collections. The following notices, which appeared in the Magazi^te of Art smd the AthencBum^ will give an idea of the artistic value of the Autotype Reproductions of the Works of Great Masters enshrined in the Continental Galleries : — From the Magazine of Art. "In the series of reproductions in Autotype of pictures from the Museo del Prado, pubhshed not many months ago by Braun and Co., in Paris, and by the Autotype Company in London, we have what seems the highest possible expression of artistic photography. Of the numbers of this famous set it is really not too much to say that they brought the treasures of the great Spanish collection within actual reach of the home-keeping Englishman. They were at once so vigorous and so faithful— so full and varied in tone, so literal and so graphic as regards the quality or form, so rich in suggestions of colour and handling and style — as to give the student a practical working knowledge of the master- works they reproduced, and to bring him into intimate relations with the gallery whose more notable features they were designed to record. "As represented by a first instalment, MM. Braun's new series — of reproductions 1 6 Autotypes from Pictures in The Hermitage. in Autotype of pictures from the Hermitage Collection in St. Petersburg — is an improvement, and a great one, upon the Prado masterpieces themselves. To begin Mdth, they are larger, for they measure i8 by 14 in. And being larger, they are also clearer and more representative of their several originals. They are richer, that is to say, in the subtler qualities of design — in delicacy of form, and intention of line, and individuality of modelling ; they convey a stronger and a more affecting impression of the attributes of power and dignity and mass ; they present a fuller and more expressive combination of suggestions of colour ; they are more opulent in tone, and more brilliantly successful in their presentment of light and shadow and effects of atmosphere. To say this is to give them the highest possible praise ; but it is not to praise them more than they deserve. They are certainly the finest photographs of pictures ever produced ; and to possess a half-dozen of them is the next best thing to possessing half-a-dozen of their originals. "The first issue is of twenty-five pictures. Chief among them are a couple of Raphael's : — a magnificent * Portrait de Vieillard ' (40), and the famous and delight- ful ' Vierge de la Maison d'Albe' (38), which is one of the painter's good things, and one of the good things of sacred art. It is curious to compare these two — so perfect in effect, so faultless in accomplishment, so full of elegance and dignity and charm — with the four superb examples of the romantic and potent genius of Rembrandt by which they are accompanied. One (800) is a * Descent from the Cross '— a dream of strange radiances and glooms and tragic action. A third (802) is the astonishing 'Danae,'a little epic of mysterious light and shadow and passionate gesture and emotional effect. A fourth (811 bis) is a detail from the incomparable 'Portrait d' Homme dans un Bonnet de Fourrure,' painted with an energy and a sincerity that are almost savage, yet touched with all the master's imagination and with all the master's romances, and in effect as impressive and tumultuous as an adagio of Beethoven. Side by side with these comes the admirable ' Toilette de Venus ' of Titian — chaste, noble, majestic ; a masterpiece of the poetry of the human form. And this, in its turn, may be confronted for contrast's sake with a dignified and peculiar * Sainte Famille' (14) ascribed to Lionardo, but probably the work of Cesare da Cesto ; with a ' Persee et Andromede ' (552) of Rubens — as full of clangour and vigour and daring as can be ; and a singularly sweet and touching example of Bernardino Luini (77), a ' Sainte Catherine.' Turning from these we come upon a superb Holbein (466), a ' Portrait d' Homme,' which takes rank with the best in existence ; upon a very beautiful Van Dyck (616), the portrait of Philip Wharton ; on a delightful Rubens (676), a portrait of Helena Fourment ; and by a dashing and triumphant Franz Hals (770), a 'Portrait d' Admiral.' More remarkable in certain ways than any of these are reproductions of a noble Claude (1429), and of Ruysdael's 'Le Marais ' (1136), a landscape of singular beauty and charm. In these such effects are realised in the representation of atmosphere and distance and illumination as have heretofore been deemed beyond the range of artistic photography to achieve. ' ' The value and importance as an educational influence of such work as we have endeavoured to describe are not easily exaggerated. It reproduces as much as is reproducible of some of the greatest pictures of the world ; it is in some sort as fruitful of example and instruction as the originals it represents ; it may be studied with infinite profit and considered with infinite pleasure. Everywhere appropriate, they are always interesting and always beautiful." Autotypes from Pictures in The Louvre. 17 From the Athencetm. "We have received from the Autotype Company, who are the agents of MM. Braun & Co., of Paris and Dornach, fifty-four 'inalterable photographs in carbon' from famous pictures and drawings in many of the best galleries in Europe, specimens of a body of similar works, amounting to several thousands, and constantly increasing in number. The reproduction of Francia's lunette of the ' Dead Christ and Angels in the National Gallery is simply perfect, and the 'Virgin, Christ and John,' by Perugino, in the same collection, not less delightful and complete. It is far superior to any engraving from the picture, a statement which may be applied to the larger number of these reproductions. The ivory-like morbidezza of the Virgin, the touches, so characteristic of Perugino, of his brush in stippling glazes on the more solid painting of the flesh of these figures, are reproduced in a way which it is no exaggeration to call magical. The mysterious smile of La Joconde has-been preserved in the copy of the Da Vinci in the Louvre, and her hands are perfect ; only the background is less clear than in the picture. Paul Potter's noble ' Wolf Dog ' at the Hermitage is adequately represented in No. 1055. No. 25 is the most important part of the ceiling of the Sistine Chapel, and it shows the wonderful finish of the gigantic figures in the creation of Adam. Next appears a head, modelled with wonderful brilliancy, with touches full of purpose and more delicate and'accomplished than a musician's on his instrument ; it is the work of Rembrandt and at St. Petersburg. Van Dyck's * Three Children of Charles I.' now at the Grosvenor Gallery from Windsor, is all that could be wished for, which is saying a great deal. We see the touches of the brush, and the grain of the canvas, and we have the chiaroscuro of the picture undisturbed ; the expressions are unvitiated. The handling of Van Dyck is not more truly given than that of Rembrandt, Perugino, Raphael, or Da Vinci. It would be easy with these transcripts before us to write an essay on the brush-work of any of these artists, on that of Romney, Lawrence, Holbein {e.g., the * Duke of Norfolk ' at Windsor), Flandrin (as shown in the flesh surface, like marble, of the nude youth), or BelUni as in his ' Doge Loredano ' from the National Gallery. Thg last is, perhaps, the finest of all autotypes. It charms us even more than Botticelli's circle of the ' Madonna and Child ' from the same collection, or Fra Angelico's 'Annunciation' at Madrid, a picture which enchanted Mr. Ruskin. Van Eyck's 'Jean Arnolfini and his Wife' is nearly as trustworthy as Van Dyck's so-called ' Gevartius,' where it would be hard to say we could not feel the crenellated surface of the painting. Da Vinci's ' La Vierge aux Rochers ' tempts us to wish for full-size versions of the heads of the angel and the Virgin. Although we know what masters have engraved Correggio, we prefer ' Mercury instructing Cupid ' to any print. The ' Vision of St. Helena,' by Veronese, in Trafalgar Square, and Diirer's ' Head of a Man about Fifty Years Old,' in the Prado, are wonders in their way." "It is impossible, as far as the writer can judge, to exaggerate the perfection ot the Autotype reproduction of the drawings of the Great Old Masters." Mr. Tom Taylor, m.a. i8 Autotypes from the Museo del Prado, Madrid. AUTOTYPES OF THE GREUT MASTERS IN FOREIGN GALLERIES. The following list includes Autotype reproductions of some of the finest examples of the work of the Great Masters in the celebrated Continental Galleries, for each subject an appropriate frame has been selected (see illustrations at end of pamphlet), and the cost of the Autotype complete in its frame is shewn in the following list. The Autotypes measure about 17 by 14 in., and the Price is Twelve Shillings each, mounted on French grey boards 27 by 22 in. Price g Framed < No, Artist. Subject. Gallery. Complete. ^ 14 Angelico(Fra) The Annunciation ... Museo del Prado 30/- 3 22 The Coronation of the Virgin . . . Uffizj, Florence 30/- 3 63 Bellini Holy Family Louvre 30/- 5 667 Cano St. John Madrid 30/- 3 132 Correggio . . . * ' Noli me Tangere " 5 > ... 30/- 3 252 Dolci (Carlo) The Magdalen Hermitage 36/- 9 179 Domenicliino The Magdalen borne to Heaven 36/- 8 148 The Sacrifice of Abraham Madrid 30/- 5 200 David Madame Recamier ... Louvre 36/- 8 II57 DaVincr ... La Joconde ) > ... 30/- 3 , , a larger size 30 by 19 at 50/- 98/- 21 1 104 Holy Family 30/- 5 1316 Durer His own Portrait at the age of 26 Madrid 30/- 6 Greuze The Broken Pitcher Louvre 36/- 8 467 Holbein Edward VI. Hermitage 36/- 10 393 The Last Supper Bale 30/- 5 387B >> Portrait of Hubert Morett Dresden 30/- 4 480 Moro Sir Thomas Gresham Hermitage 30/- 4 377 Murillo Peasant Boy 30/- 5 378 Peasant Girl 30/- 5 880 The Immaculate Conception ... Madrid 36/- 9 679 Holy Family Louvre 30/- 12 874 Christ on the Cross Madrid 30/- 6 677 The Immaculate Conception ... Louvre 36/- 9 610 Michael Angelo Pieta of St. Peter ... Rome 30/- 12 713 Perugino Virgin and Child and the Saints Louvre 28/. 13 722 Potter The Young Bull The Hague ... 30/- 3 724 The Cow mirrored in the Water 30/- 3 1055 The Wolf Hound Hermitage 36/- 10 38 Raffaelle ... Madonna de la Maison d'Albe 28/. 13 369 Holy Family (La Perla) Madrid 30/- 6 791 >> La Belle Jardiniere Louvre 32/- 20 804 > > La Vierge au Chardonneret . . . Uffizj, Florence 32/- 20 Autotypes from the Uffizj Gallery, Florence. 19 GREAT MASTERS IN FOREIGN GALLERIES [Continued). Price No. Artist. Subject. Framed Gallery. Complete K ■ ^^ 374 Reni (Guido) The Virgin Uffizj, Florence 30/- 6 383 Aurora, 33 by 12 in. at 28/6 ... Palazzo Rospig- 805 liosi, Rome ... 78/6 3 Rembrandt . . . Rembrandt's Mother Hermitage 30/- 4 811 >> Man with Fur Bonnet 30/- 4 917 The Lesson in Anatomy The Hague 30/- 3 585 Rubens Franciscan Monk Hermitage 30/- 6 966 Sarto (Del) ... The Holy Family ... Uffizj, Florence 30/- 3 257 Sassoferato ... Virgin with the Bird Hermitage 30/- 3 99 Titian Toilet of Venus >> 36/- 8 462 5> The Glorification of the Holy Trinity... Madrid 36/- 8 1045 >> Holy Family Louvre 30/- 3 1337 Van Dyck ... St. Francis d' Assise Madrid 30/- 5 612 Archbishop Laud Hermitage 30/- 5 1068 Velasquez ... Equestrian Portrait, Prince Don Balthasar Carlos Madrid 30/- 4 1097 5) Portrait of Dwarf of Philip IV. 30/- 4 In the illustration at end of pamphlet will be found photographs of most of the frames quoted in the foregoing list, which may possibly be of assistance in selection to persons unable to make a personal visit to the Gallery. MADONNA DI SAN SISTO. This Painting, which, for sublimity of invention, is esteemed the most beautiful of Ralfaelle's works, was painted for the Convent of St. Sixtus, at Piacenza, between the years 15 17 — 20, and belongs to the later or third style of the master. This Madonna, in execution, as well as design, is probably the most perfectly conceived picture in existence ; and the entire work is undoubtedly by the hand of Raffaelle. Messrs. Braun & Co.'s Autotypes of this celebrated painting have many points of superiority over the photographs previously made. The harmony and gradation of colour is so satisfactorily rendered, as to suggest a translation into monochrome by a first-rate engraver, whilst the Autotype retains that peculiar charm of technique and chiaroscuro which forms so distinctive a feature of this mode of photography. 20 Autotypes of the Grand Works of Michael Angelo. PRICES OF THE MADONNA DI SAN SISTO. No. I. — Entire Picture ... i8^ by 13^ in. 12/- Mother and Child only 18J by 14 J „ 12/- No. 2. — Entire Picture ... 30 by 24 50/- Mother and Child only 30 by 24 „ 50/- No. 3. — Entire Picture ... 49 by 36 „ 168/- Mother and Child only 42 by 34I 168/- Special Frames have been designed for the Autotypes of this magnificent work. Price of the No. i. size, framed complete ... 30/- „ No. 2. „ „ ... 92/- No. 3. „ „ ... 273/- THE FBESCOES IN THE SISTINE CHAPEL, By Michael Angelo. These Masterpieces of Ancient Art have been reproduced in Autotype, and comprise one hundred and twenty-one subjects. Price, mounted on tinted boards ... 10/- each. Framed complete, in No. 3 frames ... 30/- „ In addition to the copies of Paintings by the Great Masters, the Autotype Company have on view Autotypes of many celebrated Drawings from The Louvre, The Uffizj, The Albertina, and other Galleries. These vary much in size, and run in price from about 2/- to 10/- For further particulars the Autotype Catalogue should be consulted, sent free per post for six stamps. The French School— the leading one in Europe. CHAPTER VI. THE FRENCH SCHOOL. The French School (according to Sir Frederick Leighton, now taking the lead in Europe) is represented at the Autotype Gallery by about two hundred examples, embracing the work of about sixty artists of the last century, and most of the leading artists of the nineteenth from Vernet to Meissonier. The Autotype Company are the sole representatives in Great Britain of Messrs. Braun et Cie, and exhibit the results of their efforts to illus- trate the progress of modern French Art. The Gallery contains examples after Greuze, Watteau, Charles le Brun, Boucher, Ingres, Boissieu, David, Fragonard, De la Roche, Gerard, Gericault, Vige'e le Brun, Prud'hon, Vernet, Meissonier, Corot, Chaplin, Millet, Lefebvre; and one or two examples of most of the artists who, during this century, have received the National approval, as signified by the purchase of their works for the Luxembourg and Louvre Museums. The technique and scale of colour of French painters lends itself more favourably to photographic reproduction than any other, and allows, in many cases, a faithful transcript. The celebrated portrait of Madame Recamier by David, from the Louvre Gallery, may be taken as an in- stance of perfect reproduction, the grace and beauty of which enable one to comprehend the wonderful and enduring influence exercised by that lady over so many remarkable men. In addition to these examples the Autotype Company are constantly having additions of the finest subjects from the Luxembourg and the Salon. In the following list will be found some charming 7nodern examples for framing, and many of them exhibit in an especial manner the wonderful skill of the School in figure-painting. These French subjects are very popular, they represent the high qualities of the School in a remarkable manner, and lend themselves to 22 Autotypes from the Salon and Luxembourg. Autotype reproduction in a marvellous way. They are printed in rich brown, golden sepia, and red chalk colours. Benner's " Shady Corner at Capri " and Cooman's " La Songeuse " (The Dreamer) are two extremely popular subjects, and most of the works of this School are well adapted to decorative purposes. A SMALL SELECTION OF AUTOTYPES FROM THE EBENCH SCHOOL. For each a suitable frartie has been selected, and the price complete in frame is attached. The Autotypes are all of about the same size, mounted on tinted boards 27 by 22 in., at one uniform price, Twelve Shillings and Price Framed < No. Artist. Subject. Gallery. Complete, 2619 Aubert Love on a Holiday ... Salon ... 36/6 II 2750 Aurora refreshing the "Wings ot Love ... - 33/6 8 2166 ' ' Menu de I'Amour " >> ... 36/6 II 2905 Benner A Shady Corner at Capri ... 30/6 3 80 Bertrand The Death of Virginia Luxembourg , ... 30/6 12 22 Bonheur Rosa Ploughing ... J > 28/6 10 36 Breton (Jules) The Gleaner .. 27/6 3 2751 j> The Harvesters Salon ... 30/6 ^'3 2755 The Weeders ... 30/6 3 146 Chenu Stragglers Luxembourg . •• 30/- 5 2761 Coomans ... "La Songeuse" Salon ... 30/6 3 2231 Dupre In the Meadows >> .. 36/6 II 135 Hebert " Les CervaroUes " Luxembourg . .. 30/6 3 2138 Munier Children at the Spring Salon •• 30/6 12 2715 Love Disarmed .. 30/6 3 9391 Renouf The Capstan >> .. 30/6 *3 2161 Saint Pierre... *' La Source Charmeuse " >> •• 30/6 6 2124 Salles Amalfi >» .. 30/6 6 De Neuville The Surprise at Dawn ... 15/- and 30/- Framed Complete in No. 3 ... 33/- and 65/- Those marked (*) are stained. In one or otlier of the plates of frame illustrations will be found frames bearing the above numbers, which will convey some idea of the manner in which it is proposed to treat the respective subjects. Autotypes of Modern Works of Art. 23 CHAPTER VII. EEPEODUCTIONS OF WOEKS OF MODERN ART After Sir F. Leighton, P.R.A., E. J, Poynter, R.A., Watts, R.A., Burne Jones, Rossetti, Ford Madox Brown, Frederick Shields, Holman Hunt, Cave Thomas, G. Earl, Herbert Schmalz, Elmore, Henry Ryland, Alfred Ward, Julia Folkard, &c. At the Autotype Fine Art Gallery may be seen a very interesting series of copies of works by modern English Artists. These being varied in styles, colours, and modes of getting up, lend themselves especially to the modern ideas of the art decoration of the home. SIR FREDERICK LEIGHTON, P.R.A. "The Arts of War" and "The Arts of Peace." Copies of Frescoes in South Kensington. These are published in four sizes. The two smaller sizes form very suitable pictures for the library or gallery. The larger sizes are produced principally for the use of Art Schools. The Prices of the four sizes respectively are 25/-, 44/-, 63/-, 100/-, mounted on cloth-covered stretchers. Special Frames for the two smaller sizes, made to suit the lunette form of the pictures, at 42/- and 65/-. E. J. POYNTER, R.A. "Israel in Egypt." Mounted 21/-. Framed complete, in Frame No. I, 35/6- "Three Summer Days." In two sizes, 21/- and 42/- each. Framed complete, in Frame No. 3, 39/- and 77/- each. A writer in the Times stated of the Autotype reproduction of "Israel in Egypt":— "The result is a very striking and accurate record of a work of art of high excellence." 24 Autotypes for the Hall and Library. RICHABD ELMOBE. " Windsor Castle : Sunrise." The chef-d'oeuvre of this well- known landscape painter. With the assistance of the artist in preparing a monochrome, this painting has been reproduced in an entirely satisfactory manner by the Autotype process. The Autotype is published in two sizes respectively, about 32 by 19 in., and about 1 9 by 12 in. Proofs, signed and retouched by the artist, Three Guineas, and a Guinea and a half. Prints, Two Guineas and One Guinea respectively. "There are few who profess any acquaintance with Art who know nothing of regal Windsor. The view here is from the meadows ; a few cows are knee-deep in Thames water, chewing the cud ; they add to the scene, but its value is deiived from the palace on the hill slope, and the glorious sunrise that makes a brilliant background to a delicious picture. Mr. Elmore will add much to his reputation by this masterly work, and for its honourable representation he will be not a little indebted to the Autotype Company." — The Art Journal, November, .1878. LEONABDO CATTEBMOLE. "The Houyhnhnms." "The Chariot Team." "Follow my Leader." These classical equine studies in two sizes, at 7/6 and 15/-. "Thunder and Lightning," at 21/-. Special frames for the above at from 14/6 to 42/-. "They may, indeed, be called harmonies in horseflesh" (see p. 8). WALTEB FIELD. " Come unto these Yellow Sands." This charming picture has lent itself specially to the Autotype process, and the reproductions are extremely popular. They are in two sizes, at One and Two Guineas, mounted for framing. Framed complete in a very suitable frame, No. 3, they cost 39/- and 77/- respectively. The following appears in a notice by a writer in the Academy : — " We have received from the Autotype Company another of their admirable reproductions from paintings. Mr. Walter Field's charming picture, entitled ' Come unto these Yellow Sands,' which was exhibited at the Royal Academy and the Paris Exhibition of 1878, lends itself excellently to this mode of reproduction. Autotypes of a Religious Character. 25 The light breaking on the range of hills that overlook the bay, the sullen aspect of the sea, and the lowering clouds, are all rendered with a truth and softness that engraving could not hope to attain ; while the delightful group of children dancing in wild glee along the yellow sands transforms a somewhat dreary scene into one full of life and grace. FEEDEKICK SHIELDS. Associate of the Royal Water-Colour Society. Autotype facsimiles of two noble Drawings — " The Good Shepherd " and "Christ and Peter." Of the first of these, the Atheitceiim has this notice : — " The Autotype Company has sent us copies in two sizes of permanent photography from a large monochrome drawing, made for the purpose, by Mr. F. J. Shields, and entitled, ' The Good Shepherd.' It represents in a fine style Christ in His symbol- ical character, as a stately, tall, and handsome man in the prime of young life standing in a meadow under a fig tree, the fruit of which is ripening, and near a group of oaks. Dawn grows in brightness in the distant horizon, revealing the figure and its attendant flock of sheep, who gather near Him and drink from a copious stream which flows and sparkles in the new light at His feet. He holds a lamb in each arm ; one of the creatures, who seems to have been wounded, turns its head to look into the face of Christ, and presses close to His bosom. The other lamb rests on the arm of its bearer and is content. The head of Christ, enclosed by a threefold nimbus, is of a beautiful and manly type, and, without austerity in its expression, fine, gentle, and dignified." The following appeared in the Academy : — " For fidelity no process of reproduction can equal photography, and fortunately the Autotype process adds permanency to this invaluable quality, and the facsimile recently published by the Autotype Company of Mr. Shields' monochrome drawing of ' The Good Shepherd,' is as satisfactory rendering of the original as even so fastidious an artist as Mr. Shields could desire. Christ, leading His sheep to the side of a stream, walks beneath the spreading boughs of a fig tree, holding in either arm a lamb. At His side a mother-sheep walks, raising her head wistfully towards her little ones, which, with a pretty echo of her own attitude, are nestling on the Shep- herd's shoulder. Throughout the whole group reigns a sentiment of holy peace and tenderness ; but its sweetness is without affectation or effeminacy. The figure of Christ has power as well as pathos, majesty as well as benevolence." The "Christ and Peter" was noticed as follows by the Athencewn : — ''The Apostle clings to the shoulders of his Master, who supports him with both hands. It is a most vigorous and expressive design, excellently thought out, rendered with a noble sense of art, and in a large style. The transcript, although a little black, does not therefore lose in expressiveness, and completely fulfils its purpose." 26 Autotypes in specially designed frames. "The Good Shepherd" is published in four sizes, i8j, 23J, 27J, and 35 inches in length, at One, Two, Three, and Four Guineas, mounted for framing. A specially designed frame in American Walnut, with running pattern of Thorns in relief, is recommended as a suitable surrounding. Prices of the Autotypes, framed complete, 46/-, 75/-, 108/-, 144/-. The " Christ and Peter " is in two sizes only, at One and Four Guineas, the Autotypes framed complete, 46/-, 139/-. " Child Life," by the same artist. Autotypes of Six Drawings in Red Chalk. 30/- the Set, on plate paper. Singly, 6/- each. "The Triumph of Faith," a triptych by the same artist, and other works. "The Triumph of Faith," a triptych and wings, comprising thirteen designs for the decoration of a private chapel, by F. J. Shields, is a striking example of modern religious art, for intensity of devotional expression and imaginative excellence, not unworthy of comparison with the work of such men as Giotto and Fra Bartolommeo. These drawings manifest profound study and devout poetical fervour, with an originality of expression promising a great future for this artist. " G. F. WATTS, B.A. A series of studies, 5/- each mounted, complete in No. 2 frame, with stone grey overmount, 11/6 each. "Daphne," "Psyche," "The Graces," "Love and Death," "Orpheus and Eurydice," "The Creation of Eve," "After THE Transgression." FROM THE PAINTINGS. Subject. Price Mounted. Price Framed Complete. Hope ... 21/- 39/- in Frame No. 3 Love and Life . . . 21/- 42/- No. 8 Love and Death 21/- 42/- jj No. 8 Dawn ... 21/- 39/- No. 8 The Angel of Death 21/- 39/- No. 3 D. G. EOSSBTTI. Subject. Price Mounted. Price Framed Complete. Silence W- 105/- in Frame No. 10 Perlascura 63/- 105/- No. 3 Our Ladye of Pity 63/- 105/- i) No. 3 Sub Umbra 21/- 38/- J3 No. 3 11 Penserosa 21/- 38/- J) No. 5 Autotypes of the works of Modern Artists. B. G. SUBTECT. Water Willow Loving Cup Fazio's Mistress Study for " Found " Mary Magdalen Portrait of Himself " Ecce Ancilla Domini," Natl. Gaily ROSSETTI {continued). Price Mounted. Price Framed Complete. ... 12/6 27/6 in Frame No. 3 21/- 17/6 10/6 42/- 10/6 10/6 38/- 34/6 19/6 105/- 19/6 17/6 No. No. No. No. No. No. HOLMAN HUNT. Subject, Price Mounted. Price Framed 1 Complete. The Assyrian Wife Unveiled 21/- 39/- in Frame No. 3 Two Gentlemen of Verona 7/6 15/- No. 2 The Awakened Conscience 7/6 15/- No. 2 Rienzi 7/6 15/- 11 No. 2 Early Christian Missionaries fleeing from persecution 7/6 15/- 55 No. 2 A Tuscan Girl ... 5/- 12/6 3) No. 2 E. BUBNE-JONES. Subject. Price Mounted. Price Framed Complete. Study for "The Masque of Cupid" 42/- 56/6 in Frame No. 15 Three Studies, " Female Heads " ... 10/6 ea. 19/6 ea. „ No. 3 W. DYCE, B.A. "The Consecration of Archbishop Parker." From the drawing in the possession of G. Richmond, R.A. Mounted ... ... ... 21/-, 10/6, and 5/- Framed complete, in Frame No. 2 39/6, 23/-, and 12/6 " The attacks which have been made upon the Church of England add unspeak- able interest to the picture. It would suggest much valuable teaching if hung in every church vestry in the kingdom, and ought to have a place in the houses of those who value the unbroken continuity of the Apostolic ministry. *' Parker is represented kneeling at the feet of Barlow, who, seated in his chair, is putting the questions which are asked of candidates for the episcopate. Nicholas Bullingham, Archdeacon of Lincoln, stands in front of the altar holding the office book, and vested in cope. Edward Gest, Archdeacon of Canterbury, holds the book of the Gospels on the right. Coverdale, Scory, and Hodgkins, form a group behind the Archbishop's chair. Coverdale wears a gown, Scory surplice and hood, and Hodgkins apparently surplice and chimere. The altar has upon it the sacred vessels and two candlesticks, and a carpet is spread on the pavement. —N. M." 28 Autotype Reproductions of Artistic Drazvings. HEBBEET SCHMALZ. Muriel ... ... ... 12/6 30/6 in Frame No. 12 Voices ... ... ... 21/- 40/- No. 24 Sir Galahad ... 15/- and 42/- in Frame No. 10 at 39/- and 87/- ** The reproductions of the works of a rising young artist, Mr. Herbert Schmalz, deserve notice. His sad, but thoroughly English picture of * Voices ' on the line in the Academy of 1883, has been successfully reproduced in Autotype, and is at present the most popular of his works." Q. MANTON. "Cinderella." From the Drawing at the Royal Academy, 1885. A recent and popular work in a dark blue colour, very effective. Price ready for framing, 31/6. " Nydia." The blind girl of Pompeii. A delicate head and bust in red chalk, about 15 in. by 12 in., mounted on titled board, at 10/6. Framed complete in No. 10 frame 31/6. Cabinets may be had of this subject, i/- each. BEPBODUCTIONS OP DRAWINGS AND ENGBAVINGS. The Autotype Company have recently published a charming decora- tive series of artistic heads ; these can be had in either sepia or red chalk, and in No. 3 frame, which costs 15/- for the 10/6 size, look extremely handsome, and can with difficulty be distinguished from original drawings. The "Red Roses" looks well in No. 10 frame, and " Ophelia " in a gold " Watts " frame, at 37/6. Subject. Artist. Price. Price. Kate .. Edgar Anderson ... 10/6 Cabinets i /- Cordelia . . Miss Julia Folkard . . . 10/6 I/- Zamora 10/6 I/- Ophelia . Mrs. Kate Hastings 21/- No smaller size. Red Roses . 10/6 Cabinets i/- Angiola .. G. H. Ryland 10/6 No smaller size. Dianeme 10/6 )) Evensong 10/6 Polly .. Alfred Ward 10/6 Cabinets i/- Bellamour IO/6 >, ' I/- Idalia 10/6 i/- Nancy 15/- Atltotypes from fine proofs in the British Museum. 29 CHAPTER Vm. RECENT PUBLICATIONS. ONE HUNDRED AUTOTYPES OF ENGRAVINGS BY FRANCESCO BARTOLOZZI, R.A., Selected from rare examples in the Department of Prints and Drawings, British Museum ; with a BRIEF MEMOIR OF BARTOLOZZI By LOUIS FAGAN, ESQ. Complete in four volumes, Three Guineas each. Each volume can be had separately, and separate copies of the entire series can be purchased mounted for framing at from 2/- to 3/6 each according to size. *' We can praise the good qualities and fidelity of many of the specimens before us, among which are Cipriani's dainty ' Triumph of Beauty ' and ' Sacrifice of Cupid,' Reynolds' ' Lord Burghersh' and ' The Countess of Harrington and Children,' and Correggio's 'The Reading Magdalen.'" — The Athentriim, July 31st, 1886. AUTOTYPE EXAMPLES OF REPRESENTATIONS OF BBAXJTIFTUL WOMEN as exempHfied in British Portraiture, selected by the late G. W. Reed, Esq., from choice Engravings in the British Museum. Large size, mounted on French grey boards, 2/6 each; unmounted, 2/-; smaller size scraps, i/- each. Twelve Autotype Proofs on India, of the choicest subjects, in a handsomely-bound volume, price 31/6. There are eighty-nine examples in this series, all carefully chosen by the late keeper of the British Museum Print Room, as being representative work of artist and engraver. For complete list of Subjects see the Autotype 'Fine Art Catalogue, post free for six stamps. 30 Free Admission to the Autotype A SELECTION OF THE WORKS OF SIR JOSHUA REYNOLDS, P.R.A., FROM THE PRINT ROOM, BRITISH MUSEUM. SCRIPTURAL, HISTORICAL, AND FANCY SUBJECTS. Prices, mounted on cream boards, average size, about lo in. by 8 in., 2/6. Unmounted Scraps, about 5 in. by 4 in., i/- A few of the most important subjects are published in a large size, about 17 in. by 12. in. mounted, 12/6. The collection includes nearly 300 examples. OLD PARIS. Ten Etchings by C. Meryon, reproduced on copper by the Auto- Gravure Process, and accompanied with preface and illustrative notes by Stopford A. Brooke, M.A. Each Plate is attached, by the upper edge, to Whatman Paper cut-out Mounts, and the series enclosed in an elegant portfolio. Price Three Guineas. • LIST OF THE PLATES. 1.. Le Stryge 6. Le Pont au Change.— Second State 2. La Morgue 7. Rue des Chantres 3. L'Abside de Notre Dame de Paris 8. St. Etienne du Mont 4. La Galerie de Notre Dame 9. Le Petit Pont 5. Le Pont au Change 10. Tourelle, Rue de la Tixeranderie "These ten Auto-gravures which the Autotype Company have just published in facsimile of some of Charles Meryon's celebrated etchings, accompanied as they are with descriptive explanations by Mr. Stopford Brooke, form a most interesting collection, and for the first time bring specimens of Meryon's work before the public, at a comparatively low price. "The Autotype Company and Mr. Stopford Brooke are to be thanked for their endeavour to place some of these works within the range of the public, and many a young artist, we think, who is receiving but little encouragement from those around him, may gather a fine lesson in endurance and honesty of purpose from the delicate strength and long endurance with which these plates were wrought by a man who lacked the very means of subsistence, but who would not therefore lower his art to bring it within the range of public favour, and who is at last justified by time." The Spectator, March 19th, 1887. Fme Art Gallery, 710 soliciiatiofi to purchase. 31 THE LIBER STUDIORUM OF J. M. W. TUBNER, B.A. Reproduced in fac-simile by the Autotype process, and accompanied with commentaries upon each plate by Stopford Brooke, M.A., pub- lishing in three volumes, each containing twenty-four illustrations. Net price. Four Guineas per volume. Any of these seventy-two plates can be had separately, with its commentary by Mr. Stopford Brooke, for 3/6. From the Athenceum. The second part of the reproduction of Turner's immortal * Liber ' is superior on the whole to the first. The * Frontispiece,' one of the most interesting, is first-rate. One of the tenderest yet grandest things in the ' Liber ' is ' Grenoble,' this could hardly be better given than in the reproduction, which shows the delicacy of the renowned veil of mist -laden light to perfection. Barring a slight access of force, ' Ben Arthur ' is much better than could be expected, it is always an imposing piece, of which a few exquisite details in the rock drawing escaped the searching eye of the camera, or rather, they have lost fibre in their production. The impression of the terrible vista of the valley, with its brooding, far-projected shadow, is preserved. * Rizpah,' which is one of the greatest expressions of a grand thought in the universal language, suffers somewhat, because the denseness of the darker shadows permits no light to give mystery to them, but the sky and middle distance could not be better. The * Woman playing Cymbals,' * Bridge in Middle distance,' and the half Poussin-like, half Claude- like, * Hindoo Ablutions,' as it is ludicrously named, are represented in a highly satisfactory manner." NOTES ON THE LIBER STUDIORUM, By the Rev. Stopford Brooke, M.A., published in one volume, with an Etching by Frank Short, and five Photo-Engravings by the Autotype * Company. Net Price, Nine Shillings. From the Saturday Review. " Ever since Mr. Ruskin discovered that Turner intended the Lider Studiorum to be an epitome, not only of his knowledge of landscape art, but of his * criticism of human life,' a certain section of writers have treated it, not as a Book of Studies, but as a Book of Prophecy or Revelation, and have approached it in a spirit only too ready to see in every stray scratch on the copper some deep poetical meaning. To Mr. Stopford Brooke such a mental attitude is evidently congenial, and he has had unusual opportunities to study with due leisure these Sibylline leaves. His book may therefore be deemed a typical example of that sort of criticism which aims at penetrating the innermost recesses of an artist's mind through a patient study of his pictures." 32 The Autotype Catalogue, i86 free for Sixpence. CONCLUSION. At the Autotype Fine Art Gallery will be found a great variety of subjects of smaller sizes, at prices from i/- and upwards; these can be had in many cases as unmounted scraps, or mounted on card; they can also be had suitably and inexpensively framed, and in this form are well adapted for little artistic presents. From the following series selections may be made to suit almost any purpose. Autotypes of Fine Proofs in the Department of Prints and Drawings in the British Museum, the work of Francesco Bartolozzi, R.A. Mounted on Plate Paper, with title, 2/- to 3/6 each. Autotypes of Choice Proofs in the Department of Prints and Drawings in the British Museum. The work of the finest engravers, after the great English portrait painters, Lawrence, Gainsborough, Romney, Hoppner, etc. Large size, mounted on French grey board, 2/6 each. Unmounted, 2/-; smaller scraps, i/-. Autotypes of the Works of Sir Joshua Reynolds, P. R.A. Nearly three hundred examples — Scriptural, Historical, and Imaginative Subjects. Mounted on cream-tinted boards, 2/6; unmounted scraps, i/-. The narrow limitation of a pamphlet renders it scarcely possible to give more than a mere sketch of the artistic work that can be seen at the Autotype Fine Art Gallery. No mention has been made of Burne Jones' " Studies for the Masque of Cupid," of Ford Madox Brown's " Romeo and Juliet," of Cope's " First Trial of Griselda," or of twelve facsimiles of Drawings by William Blake. There is also on view a splendid series of photographs of ancient Athens, printed in permanent Autotype from negatives by W. J. Stillman, selected and issued by the Hellenic Society; another noteworthy picture is Mayland's " Sorrow on the Sea ;" and, in short, those lovers of Art who accept the Autotype Company's invitation to come and look over the works on view in their Fine Art Gallery, will find that they can spend a very pleasurable and profitable half hour amongst Autotypes. \ \ t / / AUTOTYPE. THREE ILLUSTRATIONS SUGCiESTlNG STYLES OF FRAMING, AND ONE PLATE SHOWING PATTERNS OF FRAMES PLATE I. The Great Masters in British Galleries. PLATE IL The Great Masters in Foreign Galleries. PLATE IIL Modern and Contemporary Artists. PLATE IV. Patterns of Frames. THE AUTOTYPE FINE ART GALLERY, 74 NEW OXFORD STREET, LONDON, W.C. [I'uienty Doors West of Miidics' Library.) THE GREAT MASTERS IN BRITISH GALEERIES Key to Illust7ations on opposite Plate ( Plate I.). DESCRIPTIONS OF THE AUTOTYPES AND FRAMES, WITH PRICES. Letter. Subject. Description OF Frame. Prices of Sub- jects & Frames. Frame N UMBER, A His own Portrait Stained Oak Frame, Autotype 12/- Rembrandt Stained Oak Flat Frame 18/- No. 4 B Portraits of Killigrew and Black & Gold Moul fl- Autotype 12/- Carew Vandyke ing, Oak Flat Frame 18/- No. 13 C "The Fighting Temeraire " Stained Reeded Oak, Autotype 12/- J. M. W. Turner ... with Oak Flat ... Frame 18/- No. 3 D The Doge Loredano Walnut P>ame, with Autotype 12/- Bellini Walnut Flat Frame 18/- No. 6 E Angels' Heads ... Sir Joshua Reynolds Gilt Oak, WalnutFiat, Gilt Reeded Sight Autotype 12/- Frame 24/- No. F " La P^ileuze " ... Greuze Black Reeded Frame, Oak Flat Autotype 12/- Frame 18/- No. 5 G A " Pieta " Francia Same as F Autotype 12/- Frarae 16/- No. 5 H The Annunciation FiLIl'PO LlPFl Gilt Reeded Oak and Oak Flat Autotype 12/- Frame 20/- No. 8 T Saint Agnes DOMENICHINO Reeded Oak F'rame, Oak Flat Autotype 12/- P^rame 18,'- No, K Vision of St. Helena Paul Veronese Black & Gold Mould- ing, Walnut Flat Autotype 12/- P'rame 20/- No. IQ E The Young Bull Paul Poiter Black & Gold Mould- ing, Walnut Plat.., Autotype 12/- Framc 18/- No. 14 For other Selections froin the British Galleries see pp. 13, 14 of this pamphlet ; and for full information, send for the Autotype P ine Art Catalogue, 186 pp, , post free for six stamps. The above have been selected from well-knozvn Autotypes, and photographed in frames harmonizing zvith the respective subjects. Many other designs of Frames may be seen at the Autotype Fine Art Gallery, 74 A'-^'^ Oxford Street, London, W. C. THE GREAT MASTERS IN EOREIGN GALLERIES, Key to Illustrations on opposite Plate ( Plate II.). DESCRIPTIONS OF THE AUTOTYPES AND FRAMES, WITH PRICES. Letter. Subject. A Aurora GuiiJO Reni Description oi' Frame. Reeded Oak, and Oak Flat .. I^rices of Sub- Frame [ECTs & Frames. Number. Autotype 28/6 Frame 50/- No. 3 B Man with Fur Bonnet Rembrandt Stained Oak, and Stained Oak Flat Autotype 12/- Frame 1 8/- No. 4 C Madonna di San Sisto Raffaelle Brown and Gold Moulding, Narrow Oak Flat Autotype 50/- Frame 42/- No. il D Floly P'amily MURILLO Brown and Gold Moulding, Nairrow Oak Flat Autotype 12/- Frame 18/- No. 12 E Holy Family Perugino Black & Gold Mould- ing, Oak Flat Autotype 12/- Frame 16/- No. 13 F Madonna de la Maison d'Albe Raffaelle Same Frame as E Autotype 12/- Frame 16/- No. 13 (j Noli me tangere . CORREGGIO Oak, and Oak Flat Autotype 12/- Frame 18/- No. 3 H La Joconde Da Vinci Black & Gold Mould- ing, Walnut Flat Autotype 50/- Frame 48/- No. 21 J Edward VI. Holbein ... Stained Oak and Gilt Oak Flat Autotype 12/- Frame 24/- No. 10 For other Selections from the Foreign Galleries see pp. 18, 19 of this pamphlet ; and for full information, send for the Autotype Fine Art Catalogue, 186 pp., post free for six stamps. GREAT MASTERS IN EOREIGN GALLERIES. Plioiographcd from Autotypes by Messrs. Braun Co. PLATE M. (TO SHOW STYLES OF FRAMING. 4 MODERN AND CONTEMPORARY ART Key to Illusti'aiions 07t opposite Plate (Plate III. ). DESCRIPTIONS OF THE AUTOTYPES AND FRAMES, WITH PRICES. Letter. Subject. A The Industrial Arts of Peace Sir F. Leighton, p.r.a. B The Duchess of Devonshire & Child Sir J. Reynolds C The Ladies Waldegrave ... Sir Joshua Reynolds D "A Shady Corner at Capri " Benner E " The Good Shepherd " ... Frederick J. Shields F " The Gleaner " ... Jules Breton G The Nursing of Bacchus ... Bartolozzi H Nymphs Sporting Bartolozzi J "Voices" Herbert Schmalz .. K La Songeuse "... Coomans ... L "The Pet Lamb" Mary Eley M "Hope" G. F. Watts, r.a. ... N "Come unto these Yellow Sands" Walter Field P "Red Roses" ... Kate Hastings DeSCRIF'TION OF Frame. Special Brown and Gold Moulding ... White and Gold " Hogarth " Same as B Oak and Oak Flat, Outer Oak Stained... Special Moulding — Reeded Walnut, with a Thorn Pat- tern in relief, Gold Flat Oak and Oak Flat, Stained Special turned Frame, " Hogarth " Pattern Same as G Black & Gold Mould- ing and Oak Flat Brown & Gold Mould- ing and Oak Flat Brown & Gold Mould- ing and Oak Flat Reeded Oak and Oak Fiat ... Black & Gold Frame Stained Oak and Gilt Oak Flat Prices of Sub- jects & P'ra.mes. Autotype 25/- Frame 50/- Autotype 2/6 Frame 5/- Autotype 2/6 Frame 5 - Autotype 12,6 Frame 18/- Autotype 84/- Frame 60 ' - Autotype 12/6 Frame 16/- Autotype 3/6 Frame 8/- Autotype 3/6 Frame 8/- Autotype 2iy'- Frame 21/- Autotype 12/6 Frame 18/- Autotype 21/- Frame 24/- Autotype 21/- Frame 18/- Autotype 21/- Frame 2 1 /- Autotype 10/6 Frame 21/- Frame Nu.mber. No. 51 No. 17 No. 17 No. 3 No. 18 No. 3 No. 15 No. 15 No. 24 No. 12 No. II No. 3 No. 20 No. 8 For other Selections from Modern and Contemporary Art see p. 21 ct scq. of this pamphlet ; and for full information, send for the Autotype Fine Art Catalogue, 186 pp., post free for six stamps. MODERN AND CONTEMPORARY ART. D. F. and K. from Autotvp^s by Messrs. Braun Co. (TO SHOW STYLES OF FRAMING.) A PLATE 77re above have been selected from .vell-kno^vn Autotypes, and P^^J'^f^^'' " be en Uarmoniun, untk the respective subjects. Many other designs of Frames may be at the Autotype Fine Art Gallery, 74 New Oxford Street, London, IV. C. DESCRIPTION OF FRAME MOULDINGS. S/iE OPPOSITE PLATE (PLATE IV.). vvilh (iokl Slin Vy 1 )n Golf] Kpv Pittern Gill Reeded Sight T-il'irL' mid ( lolfl Rni<;pfl (lold Gilt Reeded Oak, Oak Flat Gilt Ornament Black Gri)urKl T?PP(-Ipf1 Si'rhl 3^- Stained Oak, Gilt Oak Flat Black Ground I I . Brown and Gold, A'^ine Pattern, 3^ • P)o. Rai'^ed Gold Ornamental Gold Ground, Oak Flat Pattern on outer edge 1 1 A. Brown and Gold Floral Pattern 32. Do. Black Pattern Gold Ground Gold Ground, Oak Flat and Inner Gold Ornan\ent I 2. Bi'ovvn and Gold Ornamental Pat- -> 'J j3- Do , Pleavy I'loral Scroll, (iold tern, Gold Ground, Oak Flat Ground ^3- Black and Ciold " Reynolds" with 34- Do. Floral Pattern. Gold Ground Oak Flat jj- Black OTnamentai Moulding 14. Black and Gold, Ornamental Black, with Ornamental Copper Pattern, Gold Grountl Relief ^ J* Black and Gold " lloi^arlh, ' i-iu. ■27 Do. with (jriiamental Gold Relief and ^-in. 1% O"' Do. with Ornamental Brass Relief 16. (^reen and Ciold, Do, 10 yj- Do. with Raised Gold Pattern White and (Jold, Do. AO Brown, with Raised Design I 7A White and Gold ** Reynolds " A 1 41. Brown, Reeded with Deep Sight 18. Special for " I he Goud Shephercf " Brown and Gold, as No. '^4 and *' C^hrist a.Md Peter. ' 43- Brown and Cioid Relief C)rnameut Raised Reeded Walnut witii ( i'>ld Cxround Thorn Pattern, Gilt Oak Flat, A 1 Brown Polished, with Relief in 3-in, and 2-in. same Colour 19. Black and Gold, Floral Pattern, Brown and (jold, Hand Carved, (jold Ground Double Line t)f Raised Gold 20. Black and Gold, Gold Vine Pattern, Pattern Black Ground 46. Do., Do., Do. 21. Black and Gold, Reeded Black, 47- Do., Do., with Single Line Gold Lines, W^ alnut Flat 48. Brown, Hand Carved, Swiss Design 22. Black and Gold, Raised Gold 49. Brown and Gold, Fancy Pattern Pattern 50- Do., Do. PLATE IV. SPFXIMENS OF FRAME MOULDINGS. The Mouldings, Nos. i to 24, have been for the most part designed or selected especially for Autotypes ; many of them, with those numbered 25 to 50, are suitable for Engravings, Etchings, Water Colours, &c. Specimen Frames can be seen, and Prices and Estimates for Framing obtained, upon application- to THE AUTOTYPE COMPANY, U NEW OXFORD STREET, LONDON, W.C, THE AUTOTYPE COMPANY ARE PRODUCERS OF ^otogra^lis in permanent |pignunts. (autotypes are as lasting as engravings or paintings.) Copies of Paintings, Engravings, Art Manufactures, Ancient MSS., Illuminations, Coins, Antiquities. The Company have been allowed to place a very superior Apparatus in the Photographic Room of the British Museum, and are prepared to take any object in that noble collection, for which the proper formal permission is obtained. For particulars apply to THE AUTOTYPE COMPANY, 74 NEW OXFORD STREET. PORTRAITS AND VIEWS FROM NATURE ENLARGED from small negatives to any size up to colossal dimensions of over four feet in width or height. AUTOTYPE BOOK ILLUSTBATIONS (Collotype Process) are printed on paper to bind with the Book, and as they require no mounting, avoid the disagreeable curling and uneven appearance of mounted Photographs, besides being absolutely permanent. A great many important Works have been illustrated by this process, amongst which may be named— The British Museum Catalogues of the Roman Medallions. The Greek, Persian, Oriental, English, and Indian Coins. The Coins of the Sultans of Delhi. The Italian and English Medals. Facsimiles of Ancient MSS. The Codex Ale.Kandrinus. The Utrecht Psalter. The Laurentian Sophocles. Famous Monuments of Central India. Madras and Burmese Art Ware. Photographed Spectra by J. Rand Capron. Photographs of Bacteria by Dr. Crookshank. Wyon's Great Seals of England. The Liber Studiorum. And a host of other Works for societies, authors, and eminent publishers. AUTOTYPE BOOK ILLUSTRATIONS. By Sawyer's Auto-gravure Process. This is a method of producing upon a Copper Plate a photograph which (unhke' the collotype plate) can be altered or amended by a skilful engraver. W^hen the desired eftect is obtained the plate is faced with steel, and will yiekl in the copper-plate press thousands of impressions of uniform excellence. Many valuable works have been thus illustrated — " The Coins of Scotland," by Cochrane Patrick, Esq., M.P. ; Notes on the "Liber Studiorum;" Emerson's " Norfolk Broads ; Reproductions of Meryon Etchings, &c. Copies of Pictures are very successful by this process, as upon the photographic ground-work the skilled engraver can correct the errors of the photograph, and produce a fme mezzo-tint effect, whilst the cost is a trifle in comparison with the expense of a plate engraved in the ordinary manner. The speed too with which the work can be got out— a mere couple of months or so sufficing — enables an artist to have his picture engraved, and put into the market whilst the interest in it is still alive. Prices upon application. Specimens of these various processes may be seen at the Autotype Fine Art Gallery, and full information, with Prices ajid Estimates, will be given on application to THE AUTOTYPE COMPANY, 74 New Oxford Street, LONDON, W.C. PUT UP A PICTURE IK YOUR ROOM."— Hunt. THE AUTOTYPE FINE ART GALLERY (ADMISSION FREE), 74r ISTEIW OXFORD STREET (twenty doors west of MUDIES'), CONTAINS SPLENDID COPIES OF THE OLD MASTERS From the most celebrated Galleries of Europe. REPRODUCTIONS OF MODERN PAJNTINGS From the Luxembom-g, "The Salon," Royal Academy, &c. NATIONAL GALLERY, LONDON. Issue of Reproductions in Permanent Autotype of 349 Paintings, comprisim 284 Copies Foreign Schools, and 65 Copies Ikitish School. CATALOQUE ON APPLICATION. ^ TURNER'S "LIBER STUDIORUM." Reuroduced in Facsimile by the AUTOTYPE Process, and accompanied with nodce7of each Plate, by the REV. STOPFORD BROOKE, M.A. THE ART OF BARTOLOZZI One hundred examples. SIR JOSHUA REYNOLDS. Two hundred and thirty-four examples of this Master,Jrom rare pnnts in the^British Museum , including thirty-nine subjects exhibited at the Grosvenor Gallery, 1884. OLD PARIS. TEN ETCHINGS BY C. MERYON, Reproduced on Copper by the Auto-Gra»ure Process, and accompanied with BY STOPFORD A. BROOKE, M.A. FINE ART CATALOGUE, 186 pp., Price Sixpence, post free. THE ATJTOTYTE COMPANY, TO^STDON. o